{"id":1101,"date":"2017-05-09T10:34:54","date_gmt":"2017-05-09T08:34:54","guid":{"rendered":"https:\/\/www.burg-halle.de\/id-neuwerk\/?p=1101"},"modified":"2020-05-11T11:14:06","modified_gmt":"2020-05-11T09:14:06","slug":"designprozesselecture-2017_4","status":"publish","type":"post","link":"https:\/\/www.burg-halle.de\/id-neuwerk\/blog\/designprozesselecture-2017_4\/","title":{"rendered":"Designprozesse<br>Lecture 4: ReCut Eames \u2013 Designing the idea"},"content":{"rendered":"<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/127567819\" width=\"600\" height=\"338\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Design is a method of action<\/strong><br \/>\n<strong> Die Erweiterung der Handlungsfelder<\/strong><\/p>\n<p>Ein filmischer ReCut aus Interviews, Filmen, Vortr\u00e4gen \u2026<br \/>\nzum Werk von Charles und Ray Eames.<\/p>\n<p>Die Eames stehen prototypisch und ihrer Zeit vorausweisend als Designer des 20. Jahrhunderts f\u00fcr die Definition und das Ausloten von Design als Profession und eine umfassende Durchf\u00fchrung von Designprozessen. Ihr Werk reicht von Produktdesign \u00fcber Filme und Multimedia Lectures bis zu Ausstellungen und zeigt bis weit in die Bereiche eines entstehenden Informationsdesign.<\/p>\n<p>Die Entwicklung der Projekte und Arbeiten des Eames Office zeigen einen deutlichen Shift von der Gestaltung von Objekten hin zur Vermittlung von Wissen und Gestaltung von Information. Damit bildet das Werk der Eames zugleich einen H\u00f6hepunkt der Designgeschichte des ausgehenden Industriezeitalters wie es schon vorausweisender Vorbote der Handlungsfelder der Designprofessionen im Information Age ist.<\/p>\n<p>&nbsp;<\/p>\n<p>00:11 \u2013 Questions &amp; answers 1<br \/>\n01:00 \u2013 It all began with a chair \u2026 the design process<br \/>\n06:45 \u2013 901 Washington Boulevard \u2013 the Eames office<br \/>\n11:03 \u2013 Questions &amp; answers 2<br \/>\n11:44 \u2013 The post war era will be the Eames era<br \/>\n15:10 \u2013 The case study house #8<br \/>\n21:08 \u2013 Turn the Eames office into a circus \u2013 take your plaesure seriously<br \/>\n23:40 \u2013 The Eames design as part of the Marshall Plan<br \/>\n25:01 \u2013 The shift from intentional build objects to intentional film and study projects<br \/>\n29:03 \u2013 Film used as a tool<br \/>\n34:28 \u2013 The Sputnik Shock<br \/>\n36:37 \u2013 Entering the information age<br \/>\n38:23 \u2013 The Eames will be communicators, who use images rather than words<br \/>\n44:28 \u2013 The journey from not knowing to knowing<br \/>\n45:14 \u2013 From communication to the design of education, knowledge and information<br \/>\n50:25 \u2013 The design process diagram viewed by Charles Eames<br \/>\n51:20 \u2013 By working for the \u201egoogles\u201d of their time allowed them incredible experimenting<br \/>\n55:20 \u2013 Powers of Ten \u2013 a film as a media for prototyping and modeling the idea of scaling<br \/>\n1:02:23 \u2013 The Banana Leaf Parable<br \/>\n1:04:09 \u2013 Franklin Jefferson Exhibition \u2013 the trying to give an hypertext experience \u2026<br \/>\n1:06:29 \u2013 Questions &amp; answers 3<\/p>\n<p><span style=\"line-height: 1.5em;\">\u00a0<\/span><\/p>\n<p><em>Eames ReCut enth\u00e4lt Ausschnitte aus Vortr\u00e4gen von \u2026<\/em><\/p>\n<p>Eric Schuldenfrei: Creative Commons and the Design of Public Resources<br \/>\nKeynote in Cumulus Conference, Helsinki Finland, 2012<\/p>\n<p>Eames Demetrios:\u00a0The design genius of Charles and Ray Eames<br \/>\non TED.com \/ 2007<\/p>\n<p>&nbsp;<\/p>\n<p><em>\u2026 aus Filmen \u00fcber Charles and Ray Eames<\/em><\/p>\n<p>Eames \u2013 the architect and the painter \/ Jason Cohn, Bill Jersey \/ 2011<br \/>\nCharles and Ray Eames \/ H. Brandenburg \/ 1997<br \/>\n901 Eames office after 45 years of working \/ Eames Demetrios \/ 1989<\/p>\n<p>&nbsp;<\/p>\n<p><em>\u2026 \u00a0und aus den folgenden Filmen von Charles und Ray Eames<\/em><\/p>\n<p>1977 Powers of Ten<br \/>\n1973 Franklin &amp; Jefferson Proposal Film<br \/>\n1972 Banana Leaf<br \/>\n1972 Cable: The Immediate Future<br \/>\n1972 Design Q &amp; A<br \/>\n1972 SX-70<br \/>\n1971 Clown Face<br \/>\n1970 Circus<br \/>\n1970 India<br \/>\n1969 Tops<br \/>\n1965 IBM at the Fair<br \/>\n1965 View from the People Wall<br \/>\n1964 House of Science<br \/>\n1962 The House of Science<br \/>\n1961 IBM Mathematics Peep Show<br \/>\n1960 Kaleidoscope Jazz Chair<br \/>\n1959 Glimpses of the USA<br \/>\n1957 Do-nothing Machine<br \/>\n1957 The Information Machine<br \/>\n1957 Tops<br \/>\n1957 Toccata for Toy Trains<br \/>\n1955 House: After Five Years of Living<br \/>\n1955 Textiles and Ornamental Arts of India<br \/>\n1953 A Communications Primer<br \/>\n1952 Parade, or Here They Come Down Our Street<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Film used as a tool<\/strong><br \/>\n<strong>Eine Auswahl von\u00a0Filmen von Charles and Ray Eames<\/strong><\/p>\n<p>&nbsp;<\/p>\n<p>Charles &amp; Ray Eames used film as a \u201ctool,\u201d and asserted that their films were vessels for an idea. For them, the idea was more important than the medium. When one interviewer proposed that their films might be interpreted as experimental, Charles replied, \u201cThey\u2019re not experimental films, they\u2019re not really films. They\u2019re just attempts to get across an idea.\u201d Paul Schrader, in the lone academic article about their films, \u201cPoetry of Ideas,\u201d published in Film Quarterly in 1970, said, \u201cThe classic movie staple is the chase, and Eames\u2019 films present a new kind of chase, a chase through a set of information in search of an Idea.\u201d<\/p>\n<p>Quelle:<br \/>\n<a href=\"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-content\/uploads\/2017\/05\/1970_Poetry_Of_Ideas.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Poetry of Ideas, Paul Schrader, in Film Quarterly 1970<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63992499?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>Introduction Films of Charles and Ray Eames\u00a0<\/strong>(7:11)<\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Films of Charles &amp; Ray Eames<\/strong><\/p>\n<p>Charles &amp; Ray Eames were artists adept at an astonishing number of disciplines. They produced museum exhibitions, architecture, logotypes, toys, slide-shows, furniture, books, photography, paintings and over 100 films. However, their films are the least discussed of their output. One of the main reasons is the sheer difficulty in acquiring access to them. Only about a quarter of their films have been released on home video. They are one of the few American artists with an entire era named after them, but their films are rarely placed on a level with their furniture or architecture. And yet their films contain some of the most generous, sincere and original ideas of the century.<\/p>\n<p>Der vollst\u00e4ndige Artikel unter:<br \/>\n<a href=\"http:\/\/snoreandguzzle.com\/?p=149\" target=\"_blank\" rel=\"noopener noreferrer\">snoreandguzzle.com\/?p=149<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63992500?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>Design Questions+Answers<\/strong>\u00a0(1972) 5:28<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/101868561?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"458\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><strong>A communications primer<\/strong>\u00a0(1953)<\/p>\n<p>Anna Daly at Senses of Cinema describes it as follows: \u201cSchematic diagrams and simple associations serve to highlight the message: clear communication betters humanity. The film is thus an accomplished work of design as well as being a beautifully composed documentary that brings an artist\u2019s feel for colour and composition to the moving image, ensuring visual delight despite theoretical archaism.\u201d<\/p>\n<p><a href=\"http:\/\/www.sensesofcinema.com\/2004\/cteq\/charles_and_ray_eames\/\" target=\"_blank\" rel=\"noopener noreferrer\">Rezension in sensesofcinema.com\/charles and ray eames<\/a><\/p>\n<p><a href=\"\/\/www.burg-halle.de\/id-neuwerk\/24-short-films-about-design\/wp-content\/uploads\/sites\/31\/2014\/05\/a_communications_primer_Transcripts.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">A communications primer Transcript als pdf-Datei<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63992501?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Tops<\/strong>\u00a0(1969) 7:37<\/p>\n<p><span style=\"line-height: 1.5em;\">Toys occupy several of the Eames films, including Tops (1969), a purely visual film that documents the short life span of a spinning top. It\u2019s essentially a silent anthropological film and captures tops from different cultures and eras. The Eames Office contained a menagerie of toys, and it was Charles who once asked rhetorically, \u201cWho would say that pleasure is not useful?\u201d Both Toccata for Toy Trains and Tops are shot from the extreme perspectives of close-ups \u2013 an expressionistic technique that lets the audience experience toys as if from the eyes of a child.<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63992498?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Solar Do-Nothing Machine<\/strong>\u00a0(1957) 2:16<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/56089351?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Powers of Ten<\/strong>\u00a0(1977) 9:02<\/p>\n<p><span style=\"line-height: 1.5em;\">Powers of Ten (1977) is the Eames\u2019 best known work and a culmination of many ideas and themes. It is also something of a skeleton key for understanding the rest of their work. It presents the profound idea of orders of magnitude, with the subtitle of the film being: A Film Dealing With the Relative Size of Things in the Universe and the Effect of Adding Another Zero. The film was originally developed in 1968 and was entitled, A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe. The \u201crough sketch\u201d in the title is testament to the Eames\u2019 penchant for perpetually iterative design. This is the case for many of their projects \u2014 Tops was initially made in black and white in 1957, and perfected 12 years later in color; the Eames Lounger was an idea 30 years in the making; Powers of Ten took so long to evolve that in the time it took to produce, science had broken through yet another power in the understanding of quantum physics.<\/span><\/p>\n<p>Der vollst\u00e4ndige Artikel unter:<br \/>\n<a href=\"http:\/\/snoreandguzzle.com\/?p=149\" target=\"_blank\" rel=\"noopener noreferrer\">snoreandguzzle.com\/?p=149<\/a><\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63992502?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Kepplers Law<\/strong>\u00a0(1974) 2:53<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63995607?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>The Expanding Airport<\/strong>\u00a0(1958) 9:26<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63995601\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Fiberglass Chairs<\/strong>\u00a0(1970) 8:45<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63995603?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>Eames Lounge Chair<\/strong>\u00a0(1956) 2:08<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63995602?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>SX 70 Polaroid<\/strong>\u00a0(1972) 10:51<\/p>\n<p>&nbsp;<\/p>\n<p><iframe loading=\"lazy\" src=\"\/\/player.vimeo.com\/video\/63995605?title=0&amp;byline=0&amp;portrait=0\" width=\"600\" height=\"460\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><strong>IBM Fair<\/strong>\u00a0(1964) 7:33<\/p>\n<p>&nbsp;<\/p>\n<p><strong>Filmografie Charles and Ray Eames<\/strong><\/p>\n<p>1978 C\u00e9zanne (Documentary short)<br \/>\n1978 Degas in the Metropolitan (Short)<br \/>\n1978 Kites (Polavision Vignette) (Short)<br \/>\n1978 Llisa Draws a Letter (Polavision Vignette) (Short)<br \/>\n1978 Macbeth (Polavision Vignette) (Short)<br \/>\n1978 Masks (Polavision Vignette) (Short)<br \/>\n1978 Polavision Vignettes<br \/>\n1978 Sonar One-Step (Short)<br \/>\n1978 Vignettes for Polavision: The Chase (Short)<br \/>\n1977 Daumier: Paris and the Spectator<br \/>\n1977 Polavision (Short)<br \/>\n1977 Powers of Ten (Documentary short)<br \/>\n1977 The Look of America<br \/>\n1976 Atlas (Short)<br \/>\n1976 Paris: The Opening of an Exhibition (Documentary short)<br \/>\n1976 Something About Photography (Short)<br \/>\n1975 Metropolitan Overview (Short)<br \/>\n1974 Callot (Short)<br \/>\n1974 Kepler&#8217;s Laws (Documentary short)<br \/>\n1973 Copernicus (Documentary short)<br \/>\n1973 Exponents: A Study in Generalization (Short)<br \/>\n1973 Franklin &amp; Jefferson Proposal Film (Documentary short)<br \/>\n1973 Two Laws of Algebra<br \/>\n1972 Alpha (Short)<br \/>\n1972 Banana Leaf (Short)<br \/>\n1972 Cable: The Immediate Future (Short)<br \/>\n1972 Computer Perspective (Documentary short)<br \/>\n1972 Design Q &amp; A (Documentary short)<br \/>\n1972 SX-70 (Documentary)<br \/>\n1971 Clown Face (Short)<br \/>\n1971 Computer Landscape (Documentary short)<br \/>\n1971 Johnny Peer&#8217;s Clown Face (Short)<br \/>\n1971 Movie Sets (Documentary)<br \/>\n1970 Cemeteries<br \/>\n1970 Circus<br \/>\n1970 India<br \/>\n1970 Polyorchis Haplus (Documentary short)<br \/>\n1970 Soft Pad (Short)<br \/>\n1970 Tanks<br \/>\n1970 The Black Ships (Short)<br \/>\n1970 The Fiberglass Chairs: Something of How They Get the Way They Are (Documentary short)<br \/>\n1969 Decorator Crab<br \/>\n1969 Diatoms<br \/>\n1969 Image of the City (Short)<br \/>\n1969 Tops (Documentary short)<br \/>\n1968 A Rough Sketch for a Proposed Film Dealing with the Powers of Ten and the Relative Size of Things in the Universe (Documentary short)<br \/>\n1968 Babbage<br \/>\n1968 IBM Museum (Short)<br \/>\n1968 The Lick Observatory<br \/>\n1968 A Computer Glossary (Documentary short)<br \/>\n1967 G.E.M.<br \/>\n1967 National Fisheries Center and Aquarium (Short)<br \/>\n1967 Picasso<br \/>\n1967 Scheutz<br \/>\n1966 Horizontes (Short)<br \/>\n1965 Computer Day at Midvale (Short)<br \/>\n1965 IBM at the Fair (Documentary short)<br \/>\n1965 IBM Puppet Shows (Short)<br \/>\n1965 Sherlock Holmes in the Singular Case of the Plural Green Mustache (Short)<br \/>\n1965 The Smithsonian Institute (Documentary short)<br \/>\n1965 View from the People Wall (Short)<br \/>\n1965 Westinghouse in Alphabetical Order (Documentary short)<br \/>\n1964 House of Science (Short)<br \/>\n1964 Think (Short)<br \/>\n1963 IBM Fair Presentation #2 (Short)<br \/>\n1962 Before the Fair (Short)<br \/>\n1962 IBM Fair Presentation #1 (Short)<br \/>\n1962 The House of Science (Short)<br \/>\n1962 Meet Me in St. Louis (Short)<br \/>\n1962 Panic on Wall Street (Short)<br \/>\n1962 San Francisco Fire (Short)<br \/>\n1961 ECS (Short)<br \/>\n1961 Eratosthenes (Documentary short)<br \/>\n1961 IBM Mathematics Peep Show (Documentary short)<br \/>\n1961 Something About Functions (Documentary short)<br \/>\n1961 Symmetry (Documentary short)<br \/>\n1961 Topology (Documentary short)<br \/>\n1961 2n: A Story of the Power of Numbers (Short)<br \/>\n1960 &#8218;Where Did You Go?&#8216; &#8218;Out.&#8216; &#8218;What Did You Do?&#8216; &#8218;Nothing.&#8216;<br \/>\n1960 Comics of the Fifties (Short)<br \/>\n1960 Fifties Dead Sequence (Short)<br \/>\n1960 Fifties Music Sequence (Short)<br \/>\n1960 Gift from the Sea (Short)<br \/>\n1960 Introduction to Feedback (Documentary short)<br \/>\n1960 Kaleidoscope Jazz Chair (Short)<br \/>\n1960 The Fabulous Fifties (Documentary)<br \/>\n1959 Glimpses of the USA (Short)<br \/>\n1959 Kaleidoscope Shop (Short)<br \/>\n1958 De Gaulle Sketch (Short)<br \/>\n1958 Herman Miller at the Brussels Worlds Fair (Short)<br \/>\n1958 The Expanding Airport (Documentary short)<br \/>\n1957 Day of the Dead (Documentary short)<br \/>\n1957 Do-nothing Machine (Short)<br \/>\n1957 The Information Machine (Documentary short)<br \/>\n1957 Tops (Short)<br \/>\n1957 Toccata for Toy Trains (Short)<br \/>\n1956 Eames Lounge Chair (Documentary short)<br \/>\n1955 House: After Five Years of Living (Documentary short)<br \/>\n1955 Textiles and Ornamental Arts of India (Short)<br \/>\n1955 Two Baroque Churches (Short)<br \/>\n1954 S-73 (Short)<br \/>\n1953 A Communications Primer (Documentary short)<br \/>\n1953 Bread (Short)<br \/>\n1953 Calligraphy (Short)<br \/>\n1952 Blacktop: A Story of the Washing of a School Play Yard (Short)<br \/>\n1952 Parade, or Here They Come Down Our Street (Short)<br \/>\n1950 Traveling Boy (Short)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Die Erweiterung der Handlungsfelder: Von der Gestaltung des Gegenst\u00e4ndlichen zur Gestaltung der Idee, vom Produktdesign zum Informationsdesign<\/p>\n","protected":false},"author":5,"featured_media":1102,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1101","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aktuelles"],"_links":{"self":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/posts\/1101","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/comments?post=1101"}],"version-history":[{"count":19,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/posts\/1101\/revisions"}],"predecessor-version":[{"id":2106,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/posts\/1101\/revisions\/2106"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/media\/1102"}],"wp:attachment":[{"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/media?parent=1101"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/categories?post=1101"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.burg-halle.de\/id-neuwerk\/wp-json\/wp\/v2\/tags?post=1101"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}